Rain and Ash
30s preview
- BPM
- 82
- Double-time
- 164
- Open Key
- 8m
- Energy
- 26/100
- Pop
- 0/100
- Length
- 2:43
- Released
- 2013
- Album
- How I Live Now (Original Motion Picture Soundtrack)
- Genre
- Ambient
- Loudness
- -19.5 dB
- Dynamics
- 13.3 dB
- ISRC
- GBCEL1300496
Key, BPM and audio features: model-based audio analysis · how we measure · catalogue updated July 2026
Rain and Ash is a downtempo ambient track in B♭ minor (3A) at 82 BPM. The mix is almost entirely instrumental. Its spectrum is weighted to the sub and kick, with a heavy low end. The master keeps real dynamic headroom. The master keeps unusual dynamic range for club music (crest 13 dB). A 2013 production that still circulates in sets. More underground than 99% of Jon Hopkins's catalogue. In a set it works best as a warm-up or breakdown cut.
- Brightness:
- darker than 83% of Jon Hopkins's catalogue
- Tempo:
- slower than 81% of Jon Hopkins's catalogue
- Groove:
- less groove-driven than 76% of Jon Hopkins's catalogue
Sonic profile
Frequency spectrum
amplitude · bass → treble
- 36%
- Low
- 30-130 Hz
- 35%
- Low-mid
- 130-570 Hz
- 25%
- Upper-mid
- 570 Hz-2.5 kHz
- 5%
- High
- 2.5-11 kHz
FAQ
What key is Rain and Ash in?
Rain and Ash by Jon Hopkins is in B♭ minor, or 3A on the Camelot wheel.
What BPM is Rain and Ash?
Rain and Ash runs at 82 BPM, a downtempo track.
What mixes well with Rain and Ash?
From 3A it blends harmonically with 4A, 3B, 2A. Moving to 4A lifts the energy a step.
Is Rain and Ash good for peak time?
With energy 26 out of 100 at 82 BPM, it works best as a warm-up or breakdown cut.
Mixes harmonically
3A → 2A · 4A · 3BFrom 3A, 4A (F minor) lifts the energy a step; 3B (D♭ major) brightens to the relative major; 2A (E♭ minor) cools the energy down a step.
How to mix it
In 3A at 82 BPM: 4A (F minor) — move to 4A to push the floor harder; 3B (D♭ major) — switch to 3B for a mood change without losing the groove; 2A (E♭ minor) — drop to 2A to bring the room down gently.
Pitch range at ±6%: 77-87 BPM — anything in that window beatmatches without sounding stretched.
Key on the fader: without key lock (Master Tempo on CDJs), above roughly +5% it plays a semitone higher, so treat it as 10A rather than 3A; below -5% it reads as 8A. With key lock on, it stays 3A across the whole range.
Programming: a warm-up or breakdown cut — early set or after a peak to reset the room.
Similar tempo
Within ±3 BPM of 82 — beatmatch without a big tempo pull.
More ambient
More from Jon Hopkins
Full profile
Other recommendations
Beyond strict key and genre matches: tracks that still sit in beatmatch range of 82 BPM with a compatible energy and groove — candidates for a key jump or a genre crossover.
